Sentences with phrase «time filmmakers like»

As digital animation grows more advanced each year, big - time filmmakers like James Cameron and JJ Abrams are embracing the (relatively) new form of acting known as motion capture performance.

Not exact matches

Though at times the movie feels like a laundry list of all the ways Jobs could be cruel to his closest companions, small moments of compassion prevent the filmmakers from portraying him as completely heartless.

A handful of young children reveal their thoughts in Bay Area filmmaker Ellen Bruno's wonderful documentary, «Split,» which is, at times, heart - wrenching in its honesty although it's clear that parental conflict causes them the most stress, not the divorce per se, and not being able to see their father as much as they'd like.

The white family who, like so many others at the time, flees from South Africa in The Day the Mercedes Became a Hat also draws empathy from the filmmaker, who as a resident of South Africa herself, realized that there were whole generations of Caucasian immigrants who knew no other home.

And second, Kubrick ran out of time and money just like many another ambitious filmmaker; the unique and puzzling «Dorchester Hotel» ending was apparently considered a compromise.

First - time filmmaker Tony Aloupis, formerly frontman of the New Jersey rock band Shadows of Dreams, serves up Americana like a stale slice of apple pie.

Like the entertainingly bad film that inspired it, «The Disaster Artist» has an appeal all its own, but this time, for reasons its filmmakers actually intended.

Rihanna's «We Found Love» is the grandest of the musical juxtaposition this film has to offer, but other tracks like Sam Hunt's «Take Your Time», The Raveonettes» «Recharge and Revolt», and E-40's «Choices» help build the world and characters in which filmmaker Andrea Arnold is creating here.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who... read more →

Page One: A year inside the New York Times features unprecedented access to the world's most famous newspaper in a time of crisis, and Resurrect Dead: The Mystery of the Toynbee Tiles sounds like a real life Da Vinci Code as filmmakers decipher codes across North and South America.

I like the rule of thumb for first - time filmmakers, is always write something near and dear to you.

I was also curious as a first - time filmmaker, what was it like working with a cinematographer like Seamus McGarvey or production designer like Nathan Crowley on your first film?

While the movie feels every bit like the work of a first - time filmmaker (it's pretty rough around the edges, even for an indie), there's enough good stuff here to suggest that Martin has a promising future beyond the stage.

Like the works of Antonioni, I find that Philippe Garrel is a filmmaker I am maturing into, his films revealing their layers to me over time.

Blu - ray Highlight: There's not much in the way of special features, but if you don't mind sitting through the movie a second time, writer / director Lesyle Headland's audio commentary is worth a listen, especially for any aspiring filmmakers interested in what it's like to shoot your first feature.

Personally, I wish the filmmaker hadn't put so much effort into trying to make Gordon - Levitt look like his older counterpart — particularly when Willis has about half the screen time of Gordon - Levitt.

Refn clearly has a love for the likes of Walter Hill and John Carpenter, as well as cult classics like Silent Running and Logan's Run, a film he was looking to remake for some time; von Trier has grander aspirations as a filmmaker, a compulsive need to make the audience feel something, anything, at the end of his works.

The Departure was called «A genuinely spiritual experience» by The Washington Post, «Stunning» by Filmmaker Magazine, and «Tender and quietly moving... like a haiku» by The New York Times.

Violet & Daisy feels like something out of the 1990s, when first - time filmmakers were either trying to imitate Quentin Tarantino or trying to be «quirky.»

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

Tokyo Sonata, at first glance, plays less like the work of Kurosawa than like that of Taiwanese filmmaker Hou Hsiao - hsien, but as the story of downsized executive Ryuhei (Teruyuki Kagawa) unfolds, following roughly the same blueprint as Laurent Cantet's Time Out as Ryuhei conceals his unemployment from his wife and two sons, it comes clear that Kurosawa's brilliant, refined take on mass hysteria in his horror films has been translated intact.

It is with Platform that Jia joins the ranks of contemporary filmmakers like Tsai Ming - liang, Hou Hsiao - hsien and Wong Kar - wai, who have all been at the vanguard of analyzing the qualities of cinematic time and its relationship to time in one's non-cinematic experience.

If American filmmakers seem to have spent a lot of time in therapy, or rehab, or both, it looks like the best European directors were weaned on Beckett and Camus --- or maybe (and here's a crazy idea) Buddhism.

While Kress, like many casting directors, has filmmakers she works with regularly, this was her first time paired with actor turned director Scott Cooper, best known for having written and helmed «Crazy Heart,» which won Jeff Bridges an Academy Award.

In an earlier life, years before he became a big - time filmmaker, Gore Verbinski played guitar in a string of Los Angeles punk bands, banging out in - your - face songs with titles like «Hate You,» «Choke on It» and «I Wan na Die Like Elvis Did.&ralike «Hate You,» «Choke on It» and «I Wan na Die Like Elvis Did.&raLike Elvis Did.»

It Felt Like Love is an indie coming - of - age story about a young girl's sexual exploration from first - time filmmaker and writer Eliza Hittman.

Larraín is to Chile as filmmakers like Cristian Mungiu are to Romania: cathartic creators who, undeterred by the passage of time, return to examine a regime under which the socio - political power of cinema was largely denied the public and apply its modern possibilities to treating the wounds of the past.

But when watching this mostly disappointing novelty film, I spent more time wondering (1) why someone like Mr. West can be allowed to bore us with his «slow rising tension» when American Movie subject filmmaker Mark Borchardt still hasn't released his own feature, or, (2) I was trying to figure out what Mr. West's average grades must've been in film school.

Sitting through the 108 - minute running time, it felt like the filmmakers (director Gavin Hood and producer Hugh Jackman) sat through Wanted, The Bourne Series and every bloody Michael Bay film there is and took every trait they could.

For a time, it seemed like genre filmmakers hadn't learned from those sorts of examples.

Filmmaker Mike Cahill impressed me last time around with Another Earth, so anyone who liked that one should check out this new one, which also features Brit Marling once again, though Michael Pitt is the star this time around.

It's the second film by independent filmmaker Jon Sherman (Breathing Room), working with first - time screenwriter Eric Pomerance's script, but it feels like the work of more seasoned veterans, with a good balance of storytelling and character development that pays off quite well during the film's more romantic moments.

A smart and chilling piece of sci - fi that packs a punch, the movie is so self - assuredly efficient in the way that it utilizes its various parts that it doesn't feel like the work of a first - time filmmaker at all.

The filmmakers set out to make you feel like you are in the water's way and by the time things calm down you are out of breath and exhausted.

«Like Crazy» and «Equals» filmmaker Drake Doremus returns with another intimately involving relationship drama, this time with a Tinder twist.

Although the plot, once the filmmakers get around to revealing it, suggests that world - altering plans are afoot, the film still feels like a small - time crime caper, with a tongue - in - cheek attitude, and a lackadaisical delivery that explores about a half - dozen cool features of the theme park attraction (3D holograms, dream readers, etc.) that have no bearing to the story at large.

Audio is similarly solid; like the work of most first - time filmmakers, the soundtrack is more serviceable than integral, but overall the 5.1 mix is well - balanced between the pulses of the forgettable score and the dialogue, which maintains a level of aural space equal to the actors» blocking around Colin and Violet's home.

What You Need To Know: Even those who liked all of David Gordon Green «s comedies were, by the time «The Sitter» rolled around, looking forward to seeing the filmmaker return to the kind of territory that made his name, with films like «George Washington,» «All The Real Girls» and «Undertow.»

Sure, it's been an interesting experiment of sorts, wondering just how far the filmmakers would go in creating the most complex horror franchise of all time, but I really suspect that most of the people buying tickets were like myself — feeling the need to act out the yearly ritual whilst never really believing the series was going to get any better.

The filmmakers commit for a large chunk of the run time to having Hope remain unapologetic and unlikable (much like Charlize Theron's character in YOUNG ADULT), but then they bail, gifting audiences with a completely inauthentic turn.

The filmmakers had to realign what they were doing, and all these people like Michael Powell and Anthony Asquith, Sidney Gilliat jumped on board to create these films that would entertain and at the same time put out a message.

Cast: Gad Elmaleh, Gabriel Byrne, Natacha Regnier Program: Special Presentations Headline: It Fails Us Now Scott's Take: Once upon a time, Costa - Gavras was rightly considered one of the great political filmmakers, turning his rage over real - life abuses of power into docudramas like Z, State Of Siege, and Missing.

A real - time exercise in witty dialogue, cartoonish violence and aim just bad enough to leave its protagonists bloodied but alive through most of its swift duration, «Free Fire» feels like a left - handed project from a filmmaker whose gifts for staging, framing and pacing are on full display but feel ultimately wasted in a glib, down - and - dirty bagatelle.

Filmmakers like Coogler, DuVernay (with A Wrinkle in Time) and Barry Jenkins (with the news that he's doing a genre film with Boseman) are tapping into this, and the Hollywood landscape has never looked more exciting.

LMD: Working many times with innovative filmmakers like Takashi Miike and Ryuhei Kitamura, is there a common thread with directors of that quality?

Unconnected to SXSW, the Austin Film Society is in the middle of an Olivier Assayas retrospective this week, but SXSW also seemed like a good time to get the legendary French filmmaker, one of the greats of the»80s,»90s and today («Irma Vep,» «Demonlover,» «Something in the Air,» «Cold Water,» «Carlos,» «Personal Shopper») in conversation with Richard Linklater.

By the time Nicolas Cage starts acting like Humphrey Bogart, the film had completely lost me and my faith in Paul Schrader as a filmmaker.

Another major corollary is that directors whose films get nominated tend to be at either end of an extreme spectrum: They've been either well - established, critically respected filmmakers at the time they were nominated for Best Picture, or else incendiary newcomers with buzz and a box office take too big to ignore — like The Sixth Sense's M. Night Shyamalan, and now, Jordan Peele.